The Menzingers have announced some new headlining tour dates.Read More “The Menzingers Announce New Tour Dates”
What a hell of a time to be alive. With our best-laid plans smashed to bits and an entire album cycle of touring erased from the calendar, we needed to find new ways to keep this operation runnin’. Thus “From Exile,” a DIY self-recorded revisioning of “Hello Exile,” was born. It was an incredible learning experience and a beautiful way for the four of us to connect albeit from a distance.
We’re at it again, this time launching a Patreon and calling it The Regulars Club. For many people, this was a year of self-reflection and prioritization. We are no exception. We’re taking a deep dive. This is a way for us to stay connected to you guys, to each other, to our music, and to the journey that got us here. There are countless stories we’ve yet to tell. We’ll be telling them here. We’re writing, filming, recording, drawing, and shaping the whole damn thing ourselves.
We’ve been having a horrible time… in 2020. COVID-19 has forced us to keep our distance from one another and has caused unimaginable pain to millions around the world. Millions are out of work. Bands can’t play concerts and tour around the world like they usually do, forcing them to find new ways to get in front of their fans. The Menzingers came into 2020 with plans to tour their new album, Hello Exile, which was released last October. Instead, they canceled all future tour dates when everything shut down in March.
The Menzingers decided to flex their creative muscles and make the most of their time away from each other in quarantine. Between mid-March and June, the band re-recorded Hello Exile while they were all in different locations. Their goal was to create something like the acoustic demos that appeared on the excellent On The Possible Past, but instead they decided to add to the depths of the songs and not just strip them back.Read More “The Menzingers – From Exile”
At its deepest level, it’s almost an existential crisis. We’re older now. The entire band is in our early 30s. We’ve spent this many years working at what we consider to be our craft. We write songs. We play those songs. We book tours and we are able to execute those tours, keep everybody safe, and all those things that come along with that.
To have that completely taken away, it’s a very bizarre and empty feeling that can arise around that. From there, we have to ask ourselves what we are going to do? This all comes from the personal aspect of us and we decided to write that record and keep us busy to create some sounds that we can share with people. We are going to continue to write remotely and pay attention to what we’re doing to make the best music we can.
The Menzingers will release From Exile, a reimagined version of Hello Exile, on September 25th. A vinyl release will follow in November, and pre-orders are now up. Today they’ve shared the new versions of “Strawberry Mansion” and “High School Friend.”Read More “The Menzingers Announce ‘From Exile’”
The Menzingers released their second album, Chamberlain Waits a decade ago, and what a decade it’s been for them. It was an album that would build the foundation for a small town Pennsylvania-rooted band that would go on to consistently pack venues with fans all over the world.
Chamberlain Waits represents The Menzingers on the cusp of pulling off something truly special. While 2012’s On the Impossible Past is the staple Menzingers album (with After the Party in a close second place), Chamberlain Waits had all of the ingredients of what makes the Menzingers great; Relatable lyrics that set a scene in your head, catchy choruses that make you want to scream them at the top of your lungs and guitar riffs that will hook you in immediately.
The last time we heard from The Menzingers, they were fretting over getting older. “Where we gonna go now that our twenties are over?” frontman Greg Barnett asked repeatedly on “Tellin’ Lies,” the opening track from 2017’s After the Party. If that album had ended with its title track, Barnett would have had his answer (and the band could have feasibly had their happy ending). “After the party, it’s me and you.” The record proved to be a growing-up narrative that culminated in a love story—or so it seemed. But the last song on that record was actually “Livin’ Ain’t Easy,” where life was likened to a continental breakfast where they’re always out of coffee.
Hello Exile is essentially that line blown up into a widescreen, cinematic experience. The party is way past over, and so are your twenties. This time, youth and young adulthood have been replaced by the next chapter, and it’s one where things don’t seem quite as black and white as they used to. “How do I steer my early 30s?/Before I shipwreck, before I’m 40?/ Ain’t it a shame what we choose to ignore/What kind of monsters did our parents vote for?” Those are some of the first lines that Barnett sings on “America (You’re Freaking Me Out),” Hello Exile’s disillusioned opening track. A lot of this record is about trying to pretend that you’re younger than you are, or trying to get back to those golden days of youth—back when you had no cares or responsibilities. Right off the bat, though, “America” tips the record’s hand, because how can you get back to that place of innocence when the whole nation seems to be going to hell? Later, on the terrific “Strain Your Memory,” Barnett pines after a girl with a simple proposition: “Can you strain your memory back to the times/When trouble wasn’t always on our minds?” It’s a nice thought, but it’s not always that easy.
Absolutely. I don’t think in this kind of climate, you can not go full in with it. I think we’d be doing a disservice to the song and how we all feel if we didn’t fully go in and make a statement. That was one of the most difficult parts of writing that songs. I wrote like 20 verses-I can’t even count. We wrote them over and over again, because it’s hard to say everything you want to say in three and a half minutes. It’s really tricky. I wanted to stay on theme of who I am as a person. I didn’t want it to come off as pretentious. I wanted it to feel how I typically write songs. It was a challenge to hone in the lyrics to a way that I felt comfortable with and happy with and said as much as I wanted to say. At the end, I was really happy.